Rexy

ReMixer and real name: Michael Hudak Game arranged: TLoZ - Majora's Mask Name of arrangement: Machine Wash Song arranged: Great Bay Temple (and a hummed bit of Astral Observatory in the outro) Link to song: My SoundCloud: https://soundcloud.com/user-513303599 Inspired by the music of the Raster-Noton label, especially that of composer/sound designers Ryoji Ikeda and Carsten Nicolai. It's a little far-out, so maybe a reference track might make sense of what I was trying to do with Machine Wash. Also, about 60% of the sounds here are from the absolutely awesome Glitchedtones library. They had a big holiday sale, which led to what was in my head for well over 2 years finally getting made. I went through several iterations of this, each one less extreme than the last in terms of high-frequency dbs. I mixed this primarily with Sony MDR-7506s, but the average OCR listening might be using earbuds, and I don't want to, uhh, kill them. I'm hoping this current version is acceptable! It was a fun experiment to contrast the bone-dry and ultra-wet sounds here. Hopefully they juxtapose in all the right ways. This piece is based much more on (poly)rhythm and "riffs" and less on melody than what I usually do, so that was fun to dig into as well. I'm humming the Astral Observatory theme (from earlier in the game) at the end, because why not get whisked away through a dungeon of waterways, alarms, and frayed wires, only to pop out of a fountain thing and see some random guy walk by?

Hello, You will find attached to this email my mashup of Red Soil Brinstar from Super Metroid with Lanayru Sand Sea from Skyward Sword. I know this Red Soil Brinstar is overused but I tried to do something different by adding the Lanayru theme and by having a slower/calmer mood. Contact Information Your ReMixer name : Leonisnotes Your email address : Your website : https://www.youtube.com/leonisnotes Userid : 26968 Submission Information Name of game(s) arranged : Super Metroid, Zelda Skyward Sword Name of arrangement : Sandy Soil Brinstar Name of individual song(s) arranged : Red Soil Brinstar, Lanayru Sand Sea Additional information about game including composer, system, etc. (if it has not yet been added to the site) : Mac OSX FL Studio 20 Kontakt VSTs Link to the original soundtrack (if it is not one of the sound archives already available on the site) Regards

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Skyward Sword Song Title: Transformation Songs Remixed: Lanayru Sandsea, Skipper’s Retreat Gamer of the Winds played the flute part.

GreenGuyGary Gary Stevens https://soundcloud.com/gary-stevens-935191208 https://ocremix.org/community/profile/36153-gary-stevens/ Donkey Kong Country Aquatic Ambiance (Oceanic Echoes Remix) Aquatic Ambiance

I wish I could accept this track based on the title alone. The arrangement is simple, yet fun - a straight-forward run-through for the first variation, textural changes in the accompaniment with a guitar solo in the second, and back the other way for the key change at the end. The performances are also tight, the lead guitar has a wild expression to it, and the pacing is robust. It won't blow minds, but it can undoubtedly melt faces off, and I can't fault it for what it set out to do. However, the mixdown is rough in comparison. The bass and rhythm guitar dominate so much of the soundscape it's squashing everything else down - and if I can't feel that raw power from the lead guitar or even the snare, that makes the sound design problematic. It's the one issue that sinks the entire thing, so if you still have the project file, it'll be lovely for you to go back in it and see how to make those necessary EQ cuts to give everything their presence. As it is, it's a fun take on one of the sweetest sources from the original Castlevania, and I'm all for seeing it on OCR at some point. If you can go back into the mixdown and clean it up, I'm all for looking into it again. NO (resubmit)

Honestly, I like the backing here. It compliments your vocals well, adds to the mysterious feel, and - low volume aside - have all been well mixed together. The varying dynamics and tasteful use of sporadic percussion allowed this idea to flow naturally and is one of the better ways I've seen you handle such minimal backing. Alas, as others have pointed out, the vocals are the centerpiece behind the arrangement. They're carrying the source, and indeed you've handled it in such an intriguing way - changing up the melody between variations while keeping the minimal lyrics. But it still has a crucial flaw like another submission I assessed in a similar style. The vocals are heavy in mud and reverb to the point it overrode the rest of the instrumentation and over-softened the consonants. Vocal clarity is key to carry this forward, so consider rolling off some of the lowest of your low mids and add a touch more emphasis onto the mid-highs to give your vocals more attack. After listening to the diction in its current form, though, it's clear that the accent ended up misshaping a portion of those vowels as stated. Japanese vowels don't shift as much as in English, which is why they have a stiff sound to them. Consider practicing those AEIOUs - "aah, eh, ee, oh, ooh" - and see if you can sustain them for as long as possible. Your expression otherwise is lovely and delicate, which fits well to such experimental ambient work - so I hope this will take you the extra mile. All in all, this track isn't quite ready for me. The low mastering is one thing, but the vocals not getting mixed in properly is another. Whether you decide to record a new take based on our diction critique or keep this one, I would appreciate hearing a new version with significantly more clarity and cleanness on your voice. Please, Rebecca, keep at your craft. NO (resubmit)

If there's anything I've learned from being a judge, it's that this BGM is so good! Someone needs to give it some representation on the front page sooner or later. On the presentation side, you guys nailed it. The mixdown is clean, the performances are tight and on point, and no instrument is there for the sake of being there. Take pride in what you achieved here - it's comfortably above expectations. Yet, the arrangement didn't have much changed over from the source. Aside from your percussion and rhythm guitar, the first variation is tonally identical. The second variation changed things up slightly with an additional guitar countermelody, as well as a synth brass doubling up at 3:20 before providing melodic content of its own. The slowdown and vocals at 4:16 is adorable and out of leftfield, yet while I liked your stylistic changeup, it happened too late in the running time, unfortunately. Here are some ideas on how to vary up the arrangement while still keeping source presence intact. You could play around with the melody, bass or chord structure; you could add an original solo on top of the existing bass; heck, you could even put the melody over a different accompaniment pattern altogether - and that's just scratching the surface. With a partnership between you two that has lasted for nearly a decade, I know you can sit down together and figure out ideas on the fly. Nevertheless, your production and performance chops are sick, so I hope you guys continue to make music together in the time ahead of you. Should you ever go back to this track, it'll be nice to hear a version that does more to the source material beyond just the addition of some backing parts. Please submit again in the future! NO (resubmit)

Contact info ReMixer Name: Paralytik Real name: Kim Stennabb Caesar Website: https://soundcloud.com/paralytik User id on forums: 35995 Submission info Name of game arranged: Déjà Vu Name of arrangement: Whiskey And Cigarettes Name of song arranged: Joe's Bar Additional info https://en.wikipedia.org/wiki/D%C3%A9j%C3%A0_Vu_(video_game) Original song Comments I tried to think of what the composer imagined if the music would have been played on real instruments. The arrangement was made in Reason 10. -- Sincerely, Kim Stennabb Caesar

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Wind Waker Song Title: Sacred Grotto Songs Remixed: Sacred Shrine (and I think it has another name too?)

Remixer name: Michael Hudak Name of game arranged: Dynasty Warriors 3 My arrangement name: It's 80's Night at 3 Kingdoms! Name of original song: "Superior" I couldn't find much info about the composer for DW3...I think it's a person named MASA, or a collective/band named MASA Group? Link to original: The original is one of those early 2000's earworms for me. The PS2 DW games were chock full of cheese metal, and maybe nothing was more stanky than "Superior". ~Think of club somewhere called 3 Kingdoms, and the 3 little armies that dance for supremacy of the city, each and every 80's Night....~ I got the idea for this mix from Big Audio Dynamite's "E=mc2", which is an 80's pop/dance tune with several clips from Nicholas Roeg films inserted into it. DW3 has a lot of great voice acting (THE JAPANESE VERSION AT LEAST), so I thought I could build a track around them. I originally wanted to put vocals into mine, but they didn't quite work. Removing them, the song was too sparse, so I beefed up the instrumentals a lot with toms, congas, and ancillary electronic percussion, and then stuffed it full of clips from the game's cutscenes. Eventually, there were TOO many game clips and too much stuff going on, so I stripped the whole thing down to the bare essentials - as much as I could without having it sound like a demo. I only kept the game clips and percussion tracks I loved, and just embraced the open spaces. I tried to keep a lot of that 80's synth grit and washy snare stuff for authenticity, while adding a bit of modern compression to not have it sound just old for old's sake. I *think* I pulled it off. Thanks for again for all your hard work in reviewing all this stuff! Voice clips, in order of appearance: 1:49 - "Excellent timing! I can not fight against commoners" "They are desperate! Attack carefully! All units, attack!" 3:14 - "The last twinkle of a dying flame is beautiful. Shall he die beautifully as well?" -Michael

ReMixer name: bsolmaz13 Name of game: Mega Man 9 Name of arrangement: Summer Hive Name of song arranged: Hornet Man Stage

I can feel the intense power of your bass and how you chose to make it the most prominent instrument. The automation gave it just enough wobbles to freely move while not breaking the mood, and the amount of detail on the sub-frequencies justifies its power in the mix. However, the mixing here not only placed other necessary instruments like your percussion and legato synth too far back - but also lacks punch and sharpness as a whole. For your bass kick, consider somewhere in your bass to make EQ cuts and let it push through, or even applying a subtle side-chain. For the other instruments, see which, if any, would benefit more from a mid-high or high EQ tweak. As for the arrangement, I can hear the source well even through your clear modifications to better fit this genre of music. But both variations are identical, with no real change other than how the start of the loop shapes itself (0:00, 1:59). I understand why you did this - you wanted to match the client's specifications, and I can relate as someone who's done freelance work in the past. But the OCR standards have a higher bar for interpretation than just changing the genre of a piece of BGM. Here are some examples of change if you ever feel like going back to it. Consider altering the accompaniment textures completely, writing new original lines over the top, putting some of the melodic ideas on top of a different set of accompaniment, or even incorporating fragments of other Phantasy Star Online music cues - and these are just examples. Nevertheless, as a Sega nerd, I respect what you've done, and I hope your client was pleased with the result. For OCR, the lack of development on the arrangement and unbalanced mixing are the reasons why I can't see this getting posted in its current form. I hope you'll submit again in the future, whether you end up revising this or making new material from what you've learned. NO

Thanks again for reminding me of how godly the re-arrangements are on A Link Between Worlds. Why have I not even played it yet? Anyway, your performances are on point, and your drum writing remains as sharp as ever. The production is stylistically gritty, yet all the instruments are well balanced and have their place in the mix. While I would've preferred to hear more sharpness on your lead guitar and less reverb, the tone is still expressive and raw, and I appreciate what you've done here. However, the arrangement is lacking, unfortunately. The beginning and ending are simple and effective ways of using the theme respectively to build up and finish, but the meat is just two variations of the source, and that's it. The only difference between the two is a different choice of drum pattern when going through the first half of melody A (0:13, 1:11). There's plenty of things you can do to change things up - an original solo, changing the rhythms among the rest of your accompaniment, putting the melody on top of a completely different set of chords - and that's the tip of the iceberg. You've done that before with your previous Zelda submission, and I know that you can do that again. It's bizarre - I feel modestly frustrated just listening to this. In your previous submission, the arrangement was passable, but the production needed work - and here, it's the other way round. Nevertheless, you've demonstrated that you can make it onto the front page, so whether you decide to develop this track further or take what you've learned into a new arrangement is all up to you. Please, Aitor, keep going! NO

I think the sound design is neat - you've got a selection of rich, mellow sounds and textures, as well as a piano that isn't overly dark and compliments the synths around it. The EQ sweeps and gates in-between sections are a sweet touch as well, helping to break segments up out of monotony. The mixdown's also okay, but I also feel the bass and piano are way louder than they need to be, so consider bringing their volume down to the point that they sit with the other instruments, not stand on top. However, what lets this submission down the most is the arrangement. Despite all the attention in the sound design, the structure is just two variations of the theme, and that is it. The second variation does change things up at 4:33 with the harmonic fourths on the melody, but that's it. Rather than let the second variation get played straight, consider exploring it and finding ways to change it up so that it sounds both familiar and yet distinct from the first half. It's not a bad effort at all, Bobby. While I appreciate your ideas, the interpretation is way too minimal to consider for the OCR front page. It'll be nice to hear a version that adds more meat into the arrangement, but whatever you do, keep going with your craft. NO (resubmit)

I like the idea of a big brass Mute City arrangement. There's not too much playing around with the theme, but the framework does have a gallant feel to it - a great combination of theme use, development, and original builds on top. Your Captain Falcon vocals were cheesy as all hell - something I'd technically associate more with ska - but with the context of the arrangement, they're confident and not ashamed in filling their role. It's a fun ride, no doubt. However, the production values aren't as polished. As MindWanderer pointed out, this orchestration has uneven levels of balance and reverb, making some instruments sound like they're performing in a different-sized concert space. Consider synergizing the tracks' separate reverb settings, as well as another mixdown that has a touch less prominence on your brass. Talking of which, you demonstrated that you know your way around key switches, but have you thought about hitting them in the middle of an instrument's phase? For example, it feels awkward to hear your lead brass doing this constant staccato when a real-life brass player would struggle to get the air for that constant sharp push. With the number of orchestral instruments you have, consider going back through all of them and seeing how you can incorporate a healthier mixture of notation styles. Nevertheless, it's a fun ride based on its arrangement, but the production isn't quite there yet. I see promise, so I hope to hear a revised version in the future, with a more balanced mixdown and further attention to detail on your instruments' realism. Keep at it. NO (resubmit)

Unfortunately, I haven't played FF10 - so I can't comment on how the arrangement reflects the story like prophetik did. I can, however, mention how lovely the arrangement is. The restriction to a solo piano piece gave plenty of room for added harmonies and in a simple but effective structure too. The tail ends made great use of tremolos and harmonic thirds, riding on top of a restricted root chord sequence on the left hand - something that adds both a calming and intentionally uneasy feeling at the same time. The development of the theme between all this sounds great too: * Both hands are well synergized throughout, which is critical to a piano solo. * The scaling flourishes in-between sections feel gorgeous and have that gliding feel to it. * The second variation at 1:54 had been tastefully transformed while still keeping the similarity to the core melody. * And above all, the dynamics had been well-shaped, allowing emphasis at just the right places to frame the pacing. The piano tone is also lovely and warm, too, and combined with the dynamics mentioned above, the quality managed to shine through. I, too, noticed the pumping, being even more prevalent at 1:29. Typically you're not supposed to apply tight compression onto a solo part. Yet, I'm also the type who prefers to bring out the delicacy of the instrument at the cost of a more minimal master setup. It's not a dealbreaker in this case, but a word of caution to slacken the compressor/limiter settings should you decide to do another piano solo in the future. Otherwise, I like this a lot. It's a flowing solo piano arrangement that demonstrates two things for you here. Firstly, your love for classical music shows no bounds as always, resulting in a thoughtful composition with sweet attention to detail. Secondly, it's shown your improvement as a solo piano interpreter and demonstrated much of what you had learned from your previous submissions in that style. I'm excited to see what you send over in the decade ahead for sure, Guillaume. C'est parti! YES

The source is present in spades. I can respect the idea to fragment it down into the bare bones to the point that the first repetition didn't even have the A section's melody, then building the blocks back in for a much more fleshed out 2nd variation with new countermelody writing. I'm in favor of keeping the Tyson voice clip, too - its inclusion broke up the C section in anticipation of its melody line not long after. Even then, there could've been an excellent opportunity to transform the bass or melody lines during said second repetition. Removal or addition of notes, changing the timings, or even some playful incorporation of other Mega Man tunes are instant ideas that popped up in my head. Consider experimenting with either these or any other theory-based ideas you can think of, and see what comes out of it. Relating to Sir Nuts's concern about dissonance - technically that last countermelody is in key. Still, the arpeggio at 5:14 can do with a complete chord change to match that of the track at the time (track's G# major to arpeggio's C# major) and make it sound less like a note salad. Now, production. A lot of the mellower synths and pads showed signs of brilliance among the sound design, but other than that, it's not a very clear mix. The balance is low-to-low-mid heavy, with too many lower frequencies across your instrumentation overlapping each other. Consider adding more prominence to the higher parts of the EQ spectrum for your leads, while making a low EQ cut to save redundancy and add clarity to your bass and rhythm parts. In addition, the percussion can not only benefit with EQ tweaks across the different parts of the kit, but also can get layered with different textures to add more of a defining sound. Sir Nuts brought up this beat lacking punch, so one such example to improve on it is to overlay your snare with one that has more snap to it, complimenting your choice of a long clap. To summarize, while I did offer a fair chunk of critique, I still appreciate your idea in a vacuum. But if this is to get posted on OCR, I hope it'll be another version that further explores the source material and has a much cleaner production. Keep at it, Kevin. NO (resubmit)

Did you seriously create this track in less than a week? And considering it was was a last-minute replacement, that is a strong bullet point among your contributions to Arcadia Legends. Nicely done! For me, the source quickly checks out - you've got the melody riding along this changed up jazzy accompaniment, and even went as far as breaking fragments of it into licks for the quieter sections. The articulations are also beautiful - even though it's just you and a bunch of VSTs, every instrument has a live performance feel to it. Add to the attention to detail on the production, making sure every part gets its breathing space in the mix, and it's all together as one lively and miraculous package. The only nitpick I have about this is in regards to the synergy. I'm not sure if the limited timeframe contributed to this, but there had been minor moments in the first half where your pitched percussion (piano and bells) were mere fractions ahead of and behind time, respectively. A slight amount more TLC would've been good to home in and seam them closer together, but it's too much of a nitpick when everything else is way above the bar. Nevertheless, I found it an enjoyable romp on Arcadia Legends, and I'll continue to see it that way on the front page. Great stuff, Mike, and I hope this new decade gives you more ways to experiment with new ideas! YES

Hi! You might remember me, a fella named Quinn Fox. In fact, I’m sure you do! So I’ll keep it short. A recent release for the Genesis arrived in my hands, and I couldn’t resist; I’ve been wanting to do another remix for a long time, but I always kept what I 'had going' as an original. See, a great majority of my submissions have been original pieces of music from the start, and then as I look to my left at my game collection, I often search for a place to sneak in a melody, chord, or what have you, to honor the game music which I obviously love. Not always, but often. So Tanglewood, a game I initially thought would have a running soundtrack throughout, turned out to be more of a ‘Limbo’ meets ‘Disney,’ and there wasn’t a lot of music to choose from, at least not in length to provide remix material. What began in my imagination as a fox running through the forest and bouncing off of baddies (which is how this began) turned around completely once it was plugged in and played. So I toned it down a bit, changed directions, and incorporated the title music to my whims and potential benefits. It’s been a LONG time since I’ve submitted anything here, but I have nothing but fond memories of this place; I still lurk. So in essence, here is some pertinent information. Game: Tanglewood Title : Hue Stripes Music : Title Screen (Track 00) ?? Original Composer : Nathan Stanley Remixed By : Quinn Fox Also a link to the music in question. Also, it’s a very lovely, charming game. Check it out.

When I listened to the "Pokémon source" that timaeus attached to the sub, I realized very quickly that it's one of SiIvagunner's high quality rips - remaking the theme to Chrono Trigger with the soundbank for Explorers of Time / Darkness / Sky. I don't know how it happened as the CT theme is a popular source, but there you go. The submission text is completely unedited, though - and I'll attach the meme to the end of the post. -Rexy- Contact Information Username: timaeus222 Name: Truong-Son Nguyen http://soundcloud.com/timaeus222 http://tproductions.comeze.com/ ID: 24526 Submission Information Games: Chrono Cross, Pokémon Mystery Dungeon 2 ReMix Title: Serenity & Grace Consoles/Platforms: PlayStation (CC) / Nintendo DS (PMD2) OST Composers: Yasunori Mitsuda (CC), [Arata Iiyoshi, Hideki Sakamoto, Keisuke Ito, Ryoma Nakamura, Kenichi Saito] (PMD2) Sources: Pokemon Exploration Team Theme (PMD2), Radical Dreamers (CC), Scars of Time (CC) Comments: "Right around the time I was asked to evaluate the Chrono Cross album that was in the works (around March 2018 or so), I heard the title track of the album and felt inspired to write this ReMix here over the summer. This combines 'Radical Dreamers' (CC) with a bit of 'Scars of Time' (CC) and the 'Pokemon Exploration Team Theme' (PMD2). The latter two shared surprisingly similar melodies. Also, some zircon/Jillian Aversa fans might notice a little easter egg I threw in that references a certain song from 'Unearthed' that sounds very similar to a 'Radical Dreamers' motif. Lastly, this is something that I wrote entirely with what I'd call 'budget' sounds (no sample libraries, nothing pulling from massive external storage). The bulk of the instruments used are just drum samples, u-he Zebra2 patches (plus some Xfer Records Serum), and 4Front TruePianos. This encouraged me to focus on cooperation between harmony and melody, and just trying to make the melodic phrasing and chord choices completely intentional. Yup, for me this time, production was secondary to arrangement! - Truong-Son" Extra Info: Source Breakdown: 0:00.0 - 0:05.3, 0:07.0 - 0:12.2 = Radical Dreamers (0:00.0 - 0:26.4) 0:13.9 - 0:19.2, 0:20.9 - 0:27.9 = Radical Dreamers (0:00.0 - 0:26.4) 0:27.9 - 0:52.9 = Radical Dreamers (0:26.4 - 1:19.1) 1:09.6 - 1:17.4 = Radical Dreamers (1:19.1 - 1:44.5) 1:23.5 - 1:37.4 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4) 1:37.4 - 1:42.7, 1:44.4 - 1:50.5 = Original Melody + Radical Dreamers (0:00.0 - 0:26.4) 1:51.4 - 2:04.8 = Scars of Time (1:32.6 - 2:07.2) layered on Radical Dreamers (0:00.0 - 0:26.4) 2:05.3 - 2:15.7 = Pokemon Exploration Team Theme (1:13.6 - 1:40.4) 2:19.2 - 2:32.0, 2:33.1 - 2:40.0 = Pokemon Exploration Team Theme (1:40.4 - 1:54.2) 2:47.0 - 3:12.6 = Radical Dreamers (0:26.4 - 1:19.1) [new key?! Psych!] 3:28.7 - 3:36.6 = Radical Dreamers (1:19.1 - 1:44.5) 3:42.7 - 3:56.6 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4) 3:56.6 - 4:01.8, 4:03.6 - 4:15.4 = Radical Dreamers (0:00.0 - 0:26.4) 5.3 + 5.2 + 5.3 + 7.0 + 25.0 + 7.8 + 13.9 + 5.3 + 6.1 + 13.4 + 10.4 + 12.8 + 6.9 + 25.6 + 7.9 + 13.9 + 5.2 + 11.8 = 188.8 secs 188.8/256.6 = 73.6% source overall Scars of Time (SoT): 13.4/256.6 = 5.22% SoT Pokemon Exploration Team Theme (PETT): 30.1/256.6 = 11.7% PETT Radical Dreamers (RD): 73.6% - 5.22% - 11.7% = 56.7% RD The meme:

Contact Information: ReMixer Name: Dave Clumsy Real Name: David Klumbies Email Address: UserID: 35960 Submission Information: Name of Game: Phantasy Star Online Name of Arrangement: Back Home Name of Song: Jungle - A Lush Load Comment: I produced this remake on commission, with mind to attempt submission to ocremix.org. It was requested to be produce in the genre of Chillstep, but beyond that I was given free reign. I chose to keep the arrangement close to the original, while renewing the instruments, refining the harmony and increasing the tempo to fit the genre norm. What I changed about the original was either for those purposes, or to add depth to the track's progression. The main point of focus was the bass, for which I used a number of production techniques and in total 9 layers of automation to give it variation, but still soft enough so as to not overshadow the rest of the instruments.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Twilight Princess Song Title: Proxy Challenge Songs Remixed: Temple of Time (the dungeon one) This one was actually co-composed between myself and “Nirias”. He doesn’t have youtube or anything, but he does have a bandcamp here: https://nirias.bandcamp.com/

ReMixer name: Michael Hudak Real name: Michael Hudak Website: My SoundCloud Game arranged: Persona 3 Name of arrangement: Bright Moon Name of songs arranged: Tartarus LINK TO ORIGINAL: Persona 3 is one of those games that, upon release in the mid-aughts, had several soundtrack choices (made by composer Shoji Meguro) that were seen as quite unorthodox for a big-budget game. Here we are well over a decade later, and the music of the Persona series (everyone's got a favorite game out of 3, 4 and 5! What's yours?) has become some of the most beloved stuff ever. Go figure. The music from Persona 3's main dungeon, Tartarus, has 6 different versions (or "blocks" in the video sample) that build on one another as the game progresses. The one I prefer is the 4th version, coming in at 2:40. The first section of my ReMix is the closest to it. I attempted this ReMix in the style of Ryuichi Sakamoto's collaborations with Alva Noto (real name Carsten Nicolai), in which Sakamoto would record a piano track for Nicolai to then chop to pieces and add “raw material” sounds to – sine waves, shaped white noise, tiny clips of 808 kicks, etc. - to varying degrees of listener accessibility. A lot of time in their collaborations, only the very tail ends of sustained piano notes/chords would be used, with the gain cranked up of course, so the hiss of the mic used to record the piano came through clearly and added an extra element to the sounds. Since I only used sampled piano sounds that I assume were de-noised by the companies that released them, I mostly didn't have that natural mic hiss that I needed, so I had to layer much of my chopped up sampled piano on top of various layers of white/pink noise of the same length to create that effect artificially. So, all hisses you hear in this ReMix are deliberate - even the subtle and/or oddly-panned sounds - and not unwanted artifacts. Thanks for considering such a weird piece. Unfortunately, this is the kind of artsy, sound-design-y music that simply doesn't sound good on laptop speakers (nor is it supposed to), but hopefully, not too many listeners will be put off by that.

After talking with Minnie, and after she decided to talk with others, we can go ahead with the mixpost. Let's do this!

When I aired this on SEGA Mixer Drive during the Season 7 premiere last year, I was once again blown away with your production prowess. The guitar tones are meaty, the balance is clean, the performances are tight, and the energy is on point. If Sir Nuts needs a new face, then I need a new full set of teeth! Alas, the main reason why I decided to panel this one is because of its nature as a medley. There's no interplay between each of the themes, the sources come and go, and aside from the genre adaptation, there's nothing new and refreshing done to the sources themselves. Should you ever get the chance to either revise this track or do another medley, consider the idea of including parts of other sources in each section, or even the idea of interpreting one or two sources with an extra variation drastically different from the first. It's a fun listen, absolutely, and if anyone requests it for SMD I will gladly take the chance to air it. But medleys are a no-go for OCR unless there's more considerable unification between themes and interpretation of the sources in their own right. Whatever you do, Daniel, don't stop sending tracks our way - we want more visits to the hospital! NO